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The River later served as the score for the 1983 TV movie The Day After. [4] The two films were sponsored by the U.S. government and specifically the Resettlement Administration (RA) to raise awareness about the New Deal. The RA was folded into the Farm Security Administration in 1937, so The River was officially an FSA production.
Pare Lorentz (December 11, 1905 – March 4, 1992) was an American filmmaker known for his film work about the New Deal.Born Leonard MacTaggart Lorentz in Clarksburg, West Virginia he was educated at Buckhannon High School, West Virginia Wesleyan College, and West Virginia University. [1]
The New Deal: The National Level. Ohio State University Press. pp. 50– 82. Johnson; Hugh S. The Blue Eagle, from Egg to Earth 1935, memoir by NRA director online edition; Leuchtenburg, William E. Franklin D. Roosevelt and the New Deal, 1932–1940 (1963) online; Leuchtenburg, William E. "The New Deal and the analogue of war."
Following the switch to talking movies c. 1926/1927, many classic films were remade in the 1930s (and later). These include Alice In Wonderland (1933), Cleopatra (1934), and The Prisoner of Zenda (1937). Monsters. Among the numerous remakes and new films were the 'monster movies', with a wide spectrum of
Her books and lecture tours established her as the pre-eminent female right-wing activist of the 1930s, and one of the most outspoken critics of the New Deal, which she referred to as the "Jew Deal". [3] [4] [5] In the mid-to-late 1930s, Dilling expressed sympathy for Nazi Germany. [6]
Based on the 1932 Dodie Smith play Service, it depicts the desperate struggle of a London department store owner to save his business during the Great Depression. The film's title was taken from a book by the newly-inaugurated president Franklin Delano Roosevelt , who is quoted in the film's prologue . [ 1 ]
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Like many film genres, the exact definition is often in the eye of the beholder; however, Hollywood did produce and market a number of topical films in the 1930s, and by the 1940s, the term "social problem" film, or "message" film, was conventional in its usage among the film industry and the public.